DOCSLIB.ORG

John Alden Carpenter Collection

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
John Alden Carpenter Collection John Alden Carpenter Collection Processed by the Music Division of the Library of Congress Music Division, Library of Congress Washington, D.C. 2005 Contact information: http://hdl.loc.gov/loc.music/ perform.contact Catalog Record: http://lccn.loc.gov/2010563508 Finding Aid encoded by Library of Congress Music Division, 2005 Finding aid URL: http://hdl.loc.gov/loc.music/ eadmus.mu003001 Latest revision: 2010 March Collection Summary Title: John Alden Carpenter Collection Span Dates: 1891-1961 Bulk Dates: (bulk 1900-1949) Call No.: ML31.C34 Creator: Carpenter, John Alden, 1876-1951 Extent: circa 1,700 items ; 12 boxes ; 5 linear feet Language: Collection material in English Location: Music Division, Library of Congress, Washington, D.C. Summary: The papers of the John Alden Carpenter Collection, which span the years 1891 to 1961, consist of music, correspondence, writings, photographs, scrapbooks, and other printed materials. The bulk of the collection is the musical materials, primarily holograph manuscripts of Carpenter's songs, orchestral pieces, and dramatic works. The holograph manuscripts the songs include not only his better-known works but also many that have never been published. Carpenter's chamber and orchestral works are well represented also. For many works that Carpenter later arranged or revised, the collection contains both the original and at least one revision. A number of the printed scores of Carpenter's music in the collection feature holograph annotations or alterations. The bulk of the correspondence in the collection consists of letters from Carpenter to Ellen Borden (Mrs. John Borden, also addressed as Mrs. Waller Borden), who became Carpenter's second wife in 1933. This correspondence dates from approximately 1910 to 1935, and although the letters are largely personal in nature, they do contain mention of various specific compositions and productions. The remaining correspondence is that written to Carpenter by various colleagues and friends, including George Whitefield Chadwick, Percy Grainger, Frederick Stock, Leopold Stokowski, and Walter Damrosch. There is also considerable correspondence from the 1940's between Carpenter and his publisher, G. Schirmer. Carpenter's writings in the collection consist primarily of his program notes for works such as Adventures in a perambulator, Skyscrapers, The eeven ages, and the song cycle Gitanjali, as well as the stage works Krazy Kat and The birthday of the infanta. Many of the typescript texts for songs and dramatic works include emendations in Carpenter's hand as well. Numerous photographs and watercolors of the sets and costumes of Carpenter's stage productions are included. The remainder of the collection consists of a variety of biographical materials, programs, and clippings. Three large scrapbooks include not only clippings and programs but also photographs from the stage productions and letters received by Carpenter. Selected Search Terms The following terms have been used to index the description of this collection in the Library's online catalog. They are grouped by name of person or organization, by subject or location, and by occupation and listed alphabetically therein. People Carpenter, John Alden, 1876-1951--Correspondence. Carpenter, John Alden, 1876-1951. Carpenter, John Alden, 1876-1951. Carpenter, John Alden, 1876-1951. Selections. Chadwick, G. W. (George Whitefield), 1854-1931--Correspondence. Damrosch, Walter, 1862-1950--Correspondence. Grainger, Percy, 1882-1961--Correspondence. Stock, Frederick, 1872-1942--Correspondence. Stokowski, Leopold, 1882-1977--Correspondence. Organizations G. Schirmer, Inc.--Correspondence. John Alden Carpenter Collection 2 Titles Carpenter collection, 1891-1961 Administrative Information Provenance Gift of Carpenter and his wife, Ellen Waller Carpenter, between 1932 and 1962. Accruals No further accruals are expected. Processing History The John Alden Carpenter Collection was processed in 1993 by Claudia J. Widgery. This Finding Aid was prepared with Corel WordPerfect 8. In 2003, Michael A. Ferrando coded and edited the finding aid for EAD format. Copyright Status The status of copyright on the materials of the John Alden Carpenter Collection is governed by the Copyright Law of the United States (Title 17, U.S.C.). Access and Restrictions The John Alden Carpenter Collection is open to research. Researchers are advised to contact the Performing Arts Reading Room prior to visiting. Many collections are stored off-site and advance notice is needed to retrieve these items for research use. Certain restrictions to use or copying of materials may apply. Preferred Citation Researchers wishing to cite this collection should include the following information: container number, John Alden Carpenter Collection, Music Division, Library of Congress, Washington, D.C. Biographical Sketch John Alden Carpenter was born in 1876 in Park Ridge, Illinois. His earliest musical studies were with Amy Fay and W.C.E. Seeboeck in Chicago and J.K. Paine at Harvard University, from which he graduated in 1897. Other musical studies included a few lessons with Edward Elgar in Rome in 1906 and four years of study with Bernhard Ziehn in Chicago (1908-12), with subsequent studies under Ziehn disciple Julius Gold in the years that followed. Like his father, Carpenter was by profession in the shipping business, serving as vice-president of the family firm George B. Carpenter & Co. until he retired in 1936 to devote himself entirely to music. Carpenter's musical compositions include both songs and orchestral concert and stage works. His earliest orchestral work, Adventures in a Perambulator, was written in 1914 and was the first of many successes. The ballet Skyscrapers (1923-24), performed at the Metropolitan Opera House in 1926, was one of the first attempts at a literal depiction of modern American urban life, and thus has been accorded a certain historical significance. Other stage works include a "jazz pantomime" entitled Krazy Kat (1921), based on the comic strip by George Herriman, and a ballet-pantomime with Spanish overtones, The Birthday of the Infanta (1917). Carpenter was also considered an outstanding composer of songs; of particular note are the song cycles Gitanjali (1913, orchestrated 1934), a setting of a collection of poems by Rabindranath Tagore, and Water-colors (1916, orchestrated 1918), based on the writings of Confucius and other Chinese poets. Carpenter's commissions include Song of Faith (1932) for the George Washington John Alden Carpenter Collection 3 Bicentennial in 1932, and the Elizabeth Sprague Coolidge commissions of his String Quartet (1927) and Piano Quintet (1934). Carpenter was a highly successful composer in his day, being named a Knight of the French Legion of Honor (1921) and receiving such honors as the Gold Medal of the National Institute of Arts and Letters. He also received honorary degrees from Harvard University, Northwestern University, the University of Wisconsin, and the American Conservatory of Music. Scope and Content Note The papers of the John Alden Carpenter Collection, which span the years 1891 to 1961, consist of music, correspondence, writings, photographs, scrapbooks, and other printed materials. The bulk of the collection is the musical materials, primarily holograph manuscripts of Carpenter's songs, orchestral pieces, and dramatic works. The holograph manuscripts of Carpenter's songs are perhaps the most remarkable feature of the collection, as they include not only his better- known works but also many that have never been published. Notable among these are numerous unpublished youthful works, such as "Brother," "My Red Hair," and "My Horror," as well as several songs from the cycles Gitanjali and Water-Colors. Carpenter's chamber and orchestral works are well represented also. For many works that Carpenter later arranged or revised, the collection contains both the original and at least one revision. The materials for Birthday of the Infanta, for example, consist of three full scores, including both the 1918 original and a revised version from 1949, as well as holograph changes to the 1949 revision; a holograph arrangement for piano, 4 hands (1938); the composer's reduction of the first movement vocalise, with harp and piano accompaniment; and numerous sketches. Even a number of the printed scores of Carpenter's music in the collection feature holograph annotations or alterations. The bulk of the correspondence in the collection consists of letters from Carpenter to Ellen Borden (Mrs. John Borden, also addressed as Mrs. Waller Borden), who became Carpenter's second wife in 1933. This twenty-five year correspondence dates from approximately 1910 to 1935, and although the letters are largely personal in nature, they do contain mention of various specific compositions and productions. The remaining correspondence is that written to Carpenter by various colleagues and friends, including George Whitefield Chadwick, Percy Grainger, Frederick Stock, Leopold Stokowski, and Walter Damrosch. There is also considerable correspondence from the 1940's between Carpenter and his publisher, G. Schirmer. Carpenter's writings in the collection consist primarily of his program notes for works such as Adventures in a Perambulator, Skyscrapers, The Seven Ages, and the song cycle Gitanjali, as well as the stage works Krazy Kat and The Birthday of the Infanta. Many of the typescript texts for songs and dramatic works include emendations in Carpenter's hand as well. Other writings include a typescript
Load more

Recommended publications
  • John Alden Carpenter Collection
    John Alden Carpenter Collection Processed by the Music Division of the Library of Congress Music Division, Library of Congress Washington, D.C. 2005 Contact information: http://hdl.loc.gov/loc.music/perform.contact Catalog Record: http://lccn.loc.gov/2010563508 Finding Aid encoded by Library of Congress Music Division, 2005 Finding aid URL: http://hdl.loc.gov/loc.music/eadmus.mu003001 Latest revision: 2012 February Collection Summary Title: John Alden Carpenter Collection Span Dates: 1891-1961 Bulk Dates: (bulk 1900-1949) Call No.: ML31.C34 Creator: Carpenter, John Alden, 1876-1951 Extent: around 1,700 items ; 12 boxes ; 5 linear feet Language: Collection material in English Location: Music Division, Library of Congress, Washington, D.C. Summary: John Alden Carpenter was an American composer. The collection contains music materials, primarily holograph manuscripts of Carpenter's songs, chamber and orchestral pieces, and dramatic works; correspondence; writings; photographs and artwork; biographical materials; certificates and honors; programs; clippings; and scrapbooks. Selected Search Terms The following terms have been used to index the description of this collection in the Library's online catalog. They are grouped by name of person or organization, by subject or location, and by occupation and listed alphabetically therein. People Carpenter, John Alden, 1876-1951--Archives. Carpenter, John Alden, 1876-1951--Correspondence. Carpenter, John Alden, 1876-1951--Manuscripts. Carpenter, John Alden, 1876-1951--Photographs. Carpenter, John Alden, 1876-1951. Carpenter, John Alden, 1876-1951. Carpenter, John Alden, 1876-1951. Selections. Chadwick, G. W. (George Whitefield), 1854-1931--Correspondence. Damrosch, Walter, 1862-1950--Correspondence. Grainger, Percy, 1882-1961--Correspondence. Stock, Frederick, 1872-1942--Correspondence.
    [Show full text]
  • The John and Anna Gillespie Papers an Inventory of Holdings at the American Music Research Center
    The John and Anna Gillespie papers An inventory of holdings at the American Music Research Center American Music Research Center, University of Colorado at Boulder The John and Anna Gillespie papers Descriptive summary ID COU-AMRC-37 Title John and Anna Gillespie papers Date(s) Creator(s) Repository The American Music Research Center University of Colorado at Boulder 288 UCB Boulder, CO 80309 Location Housed in the American Music Research Center Physical Description 48 linear feet Scope and Contents Papers of John E. "Jack" Gillespie (1921—2003), Professor of music, University of California at Santa Barbara, author, musicologist and organist, including more than five thousand pieces of photocopied sheet music collected by Dr. Gillespie and his wife Anna Gillespie, used for researching their Bibliography of Nineteenth Century American Piano Music. Administrative Information Arrangement Sheet music arranged alphabetically by composer and then by title Access Open Publication Rights All requests for permission to publish or quote from manuscripts must be submitted in writing to the American Music Research Center. Preferred Citation [Identification of item], John and Anna Gillespie papers, University of Colorado, Boulder Index Terms Access points related to this collection: Corporate names American Music Research Center - Page 2 - The John and Anna Gillespie papers Detailed Description Bibliography of Nineteenth-Century American Piano Music Music for Solo Piano Box Folder 1 1 Alden-Ambrose 1 2 Anderson-Ayers 1 3 Baerman-Barnes 2 1 Homer N. Bartlett 2 2 Homer N. Bartlett 2 3 W.K. Bassford 2 4 H.H. Amy Beach 3 1 John Beach-Arthur Bergh 3 2 Blind Tom 3 3 Arthur Bird-Henry R.
    [Show full text]
  • Cedille Records Press Contact: Nat Silverman 1205 W
    Cedille Records Press contact: Nat Silverman 1205 W. Balmoral Ave. Nathan J. Silverman Co. PR Chicago, IL 60640 2906 Central St. #250 (773) 989-2515 Evanston, IL 60201-1283 www.cedillerecords.org Phone: (847) 868-1417 Email: [email protected] News Recording release date: September 14, 2018 Thomas Hampson Sings ‘Songs from Chicago’ on New Cedille Records Album Revered American Baritone Performs Works by Ernst Bacon, Florence Price, John Alden Carpenter, Margaret Bonds, and Louis Campbell-Tipton Thomas Hampson, America’s foremost baritone and a champion of the art of classic song, makes his Cedille Records debut with an album of songs by early mid-twentieth-century composers from Chicago. On Songs from Chicago, available September 14, 2018, Hampson sings settings of poetry by Walt Whitman, Langston Hughes, and Rabindranath Tagore composed by Ernst Bacon, Florence Price, John Alden Carpenter, Margaret Bonds, and Louis Campbell-Tipton (Cedille Records CDR 90000 180). All of them, Hampson says, “have distinguished themselves in history as great voices of the artistic American narrative.” Hailed as “an outstanding recitalist” by Grove Music Online, Hampson is accompanied on Songs from Chicago by Kuang-Hao Huang, collaborative pianist of choice for Chicago’s top singers and instrumentalists. The album’s 28-page booklet includes an introductory essay by Hampson, biographical sketches of the composers, and original texts of the poems set to music. -more- CEDILLE RECORDS — TH0MAS HAMPSON SINGS SONGS FROM CHICAGO — PAGE 2 OF 5 Project’s Origins James Ginsburg, Cedille Records founder and president and the album’s producer, says, “I’ve had the pleasure of hearing Thomas Hampson sing on many occasions over the years.
    [Show full text]
  • Percy Grainger and New Worlds of Concert Pianism
    Percy Grainger and New Worlds of Concert Pianism: A Study of Repertoire and Programming (1914-1926) Natalie Stephanie Bellio Dissertation submitted in partial fulfillment of the requirements of the degree of Master of Music (By Research) October 2013 Melbourne Conservatorium of Music The University of Melbourne Produced on archival quality paper Abstract This thesis presents an overview of Percy Grainger’s piano repertoire and programming on his tours in the United States and elsewhere in the period 1914-1926. In the United States, Percy Grainger encountered a new and wider audience, which gave him the recognition he desired to become well established as a concert pianist, and allowed him the freedom to explore a wider range of piano repertoire, as well as perform his own piano works. He developed an individual approach to programming his piano recitals and committed himself to a role as ambassador for the piano works of selected modern composers throughout America, Scandinavia and Australia. This thesis briefly explores Grainger’s performing career in London from 1901 to 1914, to provide background on Grainger’s roles as a pianist, the diversity of the piano repertoire he performed, and the restrictive circumstances surrounding his early career whilst under the management of his mother Rose. Through new research conducted on concert programmes and other relevant archival material available at the Grainger Museum, this thesis examines Grainger’s transformation as a pianist, the evolution of his selection of piano repertoire and his innovative and maturing approach to recital programming in the United States from 1914 to 1926. In addition, this study explores Grainger’s developing professional role as an educator and promoter of his preferred piano repertoire in the United States.
    [Show full text]
  • Universiv Micrcsilms International
    INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. Tlie sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photo­ graphed the photographer has followed a definite method in “sectioning” the material. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. 4. For any illustrations that cannot be reproduced satisfactorily by xerography, photographic prints can be purchased at additional cost and tipped into your xerographic copy.
    [Show full text]
  • HOWARD HANSON COLLECTION Accession No
    HOWARD HANSON COLLECTION Accession no. 997.12 RUTH T. WATANABE SPECIAL COLLECTIONS SIBLEY MUSIC LIBRARY EASTMAN SCHOOL OF MUSIC UNIVERSITY OF ROCHESTER The initial intellectual arrangement and physical arrangement of these papers imposed by personnel employed by the Howard Hanson Institute for American Music at the Eastman School of Music, ?1993-1997; revisions to same under the supervision of David Peter Coppen, 2017; description revised by David Peter Coppen, 2018-19. Howard Hanson, accession no. 997.12 Director Howard Hanson at his desk, ca. 1920s. Photograph from ESPA 2-14 (8x10). Howard Hanson at the piano, ca. 1960s. Photograph from Howard Hanson Collection (Accession no. 2005/3/25), Box 61, Folder 53. 2 Howard Hanson, accession no. 997.12 TABLE OF CONTENTS Description of the Collection . 5 Description of Series . 8 INVENTORY Series 1: Addresses, essays, articles, and publicity . 14 Series 2: Correspondence . 64 Sub-series A: Inside Eastman . 64 Sub-sub-series i: Offices, departments, and budget . 64 Sub-sub-series ii: Projects, endeavors, and initiatives , , 66 Sub-sub-series iii: Programmed events . 70 Sub-series B: Outside Eastman: endeavors and initiatives . 73 Sub-series C: University of Rochester River Campus . 83 Sub-sub-series i: Reports and correspondence . 83 Sub-sub-series ii: Endeavors and initiatives . 84 Sub-series D: Hanson’s original works . 85 Series 3: Manuscripts . 86 Sub-series A: Original compositions . 86 Sub-series B: Arrangements of music by other composers . 147 Sub-series C: Other writings . 150 Sub-sub-series i: Harmonic Materials of Modern Music . 150 Sub-sub-series ii: Sketches . 151 Sub-series D: Oversized manuscripts .
    [Show full text]
  • Interesting Burials in Beverly Cemeteries
    INTERESTING BURIALS IN BEVERLY CEMETERIES Thomas F. Scully Abbot, Francis Ellingwood, 1836-1903 Abbott, Rev. Wenonah Stevens, 1865-1950 Theologian Journalist, writer, lecturer Born in Boston, November 6, 1836 he graduated from Boston Latin School Wenonah Stevens Abbott remains best known for her poem and Harvard University. He received his theology degree from the Meadville Theological School. A radical Unitarian, he was dismissed from A Soul’s Soliloquy his first position at a church in Dover N.H. for being too liberal. The issue went all the way to the New Hampshire Supreme Court. He devoted the rest Today the journey is ended, of his life to writing and teaching. He was married Aug. 8, 1859, to I have worked out the mandates of fate; Katherine Fearing Loring of Concord, Mass. She died October 23, 1893 and Naked, alone, undefended, was buried in Central Cemetery. On the tenth anniversary of his wife’s I knock at the Uttermost Gate. Behind is life and its longing, death, Abbot traveled to Beverly, placed flowers on her grave and took his Its trial, its trouble, its sorrow, own life by ingesting poison. He died October 22, 1903 in Beverly and is Beyond is the Infinite Morning buried alongside his wife in Central Cemetery. Of a day without a tomorrow. Wenonah Stevens Abbott—A Soul’s Soliloquy. 1 Carpenter, John Alden, 1876-1951 Dane, Nathan, 1752-1835 Composer Lawyer, Congressman John Alden Carpenter, 75, of Chicago, noted composer, was a summer Born in Ipswich, December 29, 1752. US Continental Congressman. He resident here for many years He died Thursday April 26, 1951in Chicago.
    [Show full text]
  • JOHN ALDEN CARPENTER New World Records 80328 Collected Piano Works
    JOHN ALDEN CARPENTER New World Records 80328 Collected Piano Works John Alden Carpenter was born in Park Ridge, Illinois, one hundred years after the United States became a nation. His namesake ancestor had arrived in America in 1620. Carpenter's mother, an accomplished singer, had studied in Europe. She took part in church musical activities, founded the Amateur Musicians Club of Chicago, and began teaching piano to John when he was five. Later he credited her with developing his love of music. At eleven he began four years of lessons with Amy Fay, a student of Tausig's and Liszt's. Then for two years he studied piano and theory with William Seeboeck, who had studied with Nottebohm, Brahms, and Rubenstein. In 1897 Carpenter graduated with honors from Harvard College, having taken the full music course as well as the liberal-arts program. While there he had accompanied and sung with the glee club, which performed several of his early compositions. The music courses were taught by John Knowles Paine (New World Records NW 206, 262, 280), the "first American symphonist." At their last meeting, Paine admonished Carpenter, "Better change your mind about going into that business!" "That business" was the family business of selling shipping supplies and groceries (in 1909 Carpenter became vice-president). For three months in 1906 Carpenter studied with Sir Edward Elgar, an experience unsuccessful for both. In 1909 he began three years of composition lessons with Bernhard Ziehn, the much respected and feared theorist and aesthetician. Carpenter acknowledged him as the greatest influence on his life as a composer.
    [Show full text]
  • The Implications of the American Symphonic Heritage in Contemporary Orchestral Modeling
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 11-11-2020 The Implications of the American Symphonic Heritage in Contemporary Orchestral Modeling Mathew Lee Ward Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Ward, Mathew Lee, "The Implications of the American Symphonic Heritage in Contemporary Orchestral Modeling" (2020). LSU Doctoral Dissertations. 5407. https://digitalcommons.lsu.edu/gradschool_dissertations/5407 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE IMPLICATIONS OF THE AMERICAN SYMPHONIC HERITAGE IN CONTEMPORARY ORCHESTRAL MODELING A Dissertation Submitted to the Graduate Faculty of Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Mathew Lee Ward U.D., Longy School of Music of Bard College, 2015 M.M., Longy School of Music of Bard College, 2017 December 2020 ii One hundred years ago our country was new and but partially settled. Our necessities compelled us to chiefly expend our means and time in felling forests, subduing prairies, building dwellings, factories, ships, docks, warehouses, roads, canals, machinery, etc. Most of our schools, churches, libraries and asylums have been established within a hundred years. Burdened by these great primal works of necessity which could not be delayed, we have yet done what this exhibition will show in the direction of rivaling older and more advanced nations in medicine and theology; in science, literature and the fine arts; while proud of what we have done, we regret that we have not done more.
    [Show full text]
  • WORLD PREMIERES All Performances from 1891 to 1904 Were Given at the Auditorium Theatre and Thereafter at Orchestra Hall, Unless Otherwise Noted
    WORLD PREMIERES All performances from 1891 to 1904 were given at the Auditorium Theatre and thereafter at Orchestra Hall, unless otherwise noted. Soloists, when known, also are indicated. 1891-99 │ 1900-09 │ 1910-19 │ 1920-29 │ 1930-39 │ 1940-49 │ 1950-59 1960-69 │ 1970-79 │ 1980-89 │ 1990-99 │ 2000-09 │ 2010-19 Date Composer Composition Conductor 1891-99 Columbus Ode, Ode for the Opening of the Chicago World’s Fair (World’s Columbian 21-Oct-1892 George Chadwick Theodore Thomas Exposition, Manufacturers and Liberal Arts Building) Columbus March and Hymn (World’s Columbian 21-Oct-1892 John Knowles Paine Exposition, Manufacturers and Liberal Arts Theodore Thomas Building) Festival Jubilate, Op. 17 (World’s Columbian 1-May-1893 Amy Beach Theodore Thomas Exposition, Women’s Building) Triumphal March (World’s Columbian Exposition, Woizech Iwanowich 7-Jun-1893 Alexander Glazunov Music Hall) Hlavac Overture, Witichis (World’s Columbian 29-Jul-1893 Margaret Lang Theodore Thomas Exposition, Festival Hall) Cello Concerto in G Minor, Op. 33 (Bruno 30-Nov-1894 Arthur Foote Theodore Thomas Steindel) Concerto No. 2 for Piano in D Minor (W. C. E. 25-Jan-1895 W. C. E. Seeboeck Theodore Thomas Seeboeck) 17-Apr-1896 Frederic Grant Gleason Symphonic Poem, Edris Theodore Thomas 22-Oct-1897 Hugo Kaun Festival March and Hymn to Liberty Theodore Thomas 3-Feb-1899 Hugo Kaun Overture, Der Maler von Antwerpen Theodore Thomas 29-Dec-1899 Henry Schoenefeld Impromptus for String Orchestra Henry Schoenefeld 1900-09 5-Jan-1900 Adolf Weidig Capriccio, Op. 13 Theodore
    [Show full text]
  • Thomas Hampson
    SONGS FROM CHICAGO THOMAS HAMPSON KUANG-HAO HUANG SONGS FROM CHICAGO THOMAS HAMPSON baritone MARGARET BONDS (1913–1972) KUANG-HAO HUANG piano poems by Langston Hughes Three Dream Portraits ERNST BACON (1898–1990) 13 Minstrel Man (1:38) poems by Walt Whitman 14 Dream Variation (1:41) 1 Lingering Last Drops (1:34) 15 I, Too (1:39) 2 World Take Good Notice (0:54) 16 The Negro Speaks of Rivers (3:51) 3 The Last Invocation (2:02) 4 On the Frontiers (3:42) 5 The Divine Ship (2:00) LOUIS CAMPBELL-TIPTON (1877–1921) 6 Darest thou Now, O Soul (3:59) poem by Walt Whitman 7 Grand Is the Seen (2:30) 17 Elegy(2:42) FLORENCE PRICE (1888–1953) JOHN ALDEN CARPENTER poems by Langston Hughes Gitanjali, poems by Rabindranath Tagore (21:40) 8 Song To The Dark Virgin (1:55) 18 Credo (reading)(0:59) 9 My Dream (2:02) 19 When I bring to you colour‘d toys (2:21) 20 On the day when death will knock at thy door (3:00) JOHN ALDEN CARPENTER (1876–1951) 21 The Sleep that flits on Baby‘s Eyes (2:25) from Four Negro Songs, poems by Langston Hughes 22 I am like a Remnant of a Cloud of Autumn (4:25) 23 On the Seashore of Endless Worlds (5:28) 10 Shake your brown feet, honey (2:03) 24 Light, My Light (2:18) 11 The Cryin‘ Blues (2:19) 25 Epilogue (reading)(0:24) 12 Jazz-Boys (1:11) TT: 60:31 ABOUT THE PROGRAM by Thomas Hampson independence of mind, and compassion for those around us — will not be lost on I have long been a fan of Cedille Records and its mandate to record the works the casual listener nor student of American poetry.
    [Show full text]
  • Tagore, Carpenter and the Gitanjoli Song Cycle
    TAGORE, CARPENTER, AND THE GITANJALI SONG CYCLE by p^. HELEN JANICE BRIGGS B. M. E. , Emporia State Teachers College , 1961 A MASTER'S REPORT submitted in partial fulfillment of the requirements for the degree MASTER OF SCIENCE Department of Music KANSAS STATE UNIVERSITY Manhattan , Kansas 1968 Approve^/ by Major Professor 1 196 81 TABLE OF CONTENTS Page INTRODUCTION 1 Chapter I. RABINDRANATH TAGORE 3 RELIGION 6 EDUCATION 8 AMBASSADORSHIP 9 NATIONALISM 11 WORKS 13 Literary 13 Paintings 14- Music 15 GITANJALI 18 II. JOHN ALDEN CARPENTER 20 CRITICAL COMMENTS 24 WORKS 28 SONGS 29 BELIEFS 33 THE GITANJALI SONG CYCLE 33 III. AN ANALYSIS OF A SONG FROM THE GITANJALI SONG CYCLE . 36 CONCLUSION 4-5 APPENDIX U1 ACKNOWLEDGMENTS U9 BIBLIOGRAPHY 50 INTRODUCTION The purpose of this report was to present pertinent information concerning the lives of two great men, Rabindranath Tagore and John Alden Carpenter, who have enriched poetry and music. Out of this union was produced the Gitanjali Song Cycle . This paper presents an analy- zation in which certain fundamental musical characteristics of Carpenter are made known. It is interesting to note the similarities between Carpenter and Tagore. Both men were born in aristocratic families, not lacking in wealth or social position. Both were religious, sensitive, and humane. Tagore sought international understanding among people, and in this same respect Carpenter has brought American thought into closer rapport with the poems of Tagore and William Sharp, with Negro folklore and Classic and Romantic ideals of older civilizations. Both men have been described as conservative. In the case of Carpenter, he belonged with those who were conservatives at heart, but who nevertheless were progressive.
    [Show full text]